Well, it’s been over two years now. I’m talking about the near-global pandemic “time-out”. So, do you recall what you did to pass the hours? Was “recall” part of it, as in revisiting old memories and childhood experiences? It appears that many “creatives”, including lots of filmmakers, took a “sentimental journey”. Of course, that’s not rare as many movie makers have opened up about their past, from Fellini to Scorsese (sure it’s the story of Henry Hill, but there’s a lot of young martin in GOODFELLAS). And now, with a few years put into making them, the nostalgic film “floodgates” are opening up. In the next few weeks, we’ll delve into the recollections of Sam Mendes and Steven Spielberg. This weekend another artist gives us his “take” on the “coming of age” saga. Ah, but things aren’t bathed in a “rosy haze” in this work. Which explains its title, ARMAGEDDON TIME.
The time in question is the Fall of 1980. Aspiring comic book artist Paul Graff (Banks Repeta) shares his artistic gifts with his eight grade classmates via a cartoon of their teacher Mr. Turkeltaub (that name just begs for a human/ poultry hybrid sketch). Of course, Paul is busted but luckily another student, Johnny (Jaylin Webb) defends him. Being the only black student there, due to recent “busing” rulings, Johnny “butts up” against the school faculty. But he and Paul forge a strong friendship, leading to lots of after-school adventures and mischief. Johnny’s ailing and addled grandma (his sole parent) lives far across town, so Paul lets him stay in the clubhouse shed behind his Queens, NY home. It’s the site of many Graff family dinners, prepared by mother Esther (Anne Hathway), who’s involved in the PTA, and hosted by electrician papa Irving (Jeremy Strong). Oh, Paul’s older brother who attends a swanky private school, Ted (Ryan Sell) is there. But the most revered guest is Esther’s father, beloved grandpa Aaron (Anthony Hopkins). He and Paul bond over their shared love of art and model rockets. And yet the lad continues to get into trouble both at school and at home, which is on edge due to the upcoming elections (“That movie actor will have his finger on the button”). When the antics of Paul and Johnny get more serious, the Graffs decide that public school is not working for their youngest. Can Paul fit in with the “swells” at that stuffy elitist place? And what will happen to his friendship with the “unsupervised” Johnny?
Despite the “heavy hitters” in the cast (at least two Oscar winners), the focus of the story is Repeta as the impulsive Paul. The young actor seems relaxed and very natural in the role. Oh, and very real as he can turn from endearing and sweet to annoying and cruel “on a dime”. Sure, he’s the “center” but he’s not truly the hero. Much of that also applies to Webb as Johnny who projects an aura of tough apathy, which deflects any further disappointments and frustrations. He has big dreams that would take him far from the “mean streets”, but he knows that the odds are against him, along with almost everyone in the inner city. Supporting Paul on the homefront is Hathaway as the nurturing Esther who wants to be a progressive, but fears for her lil’ guy as he pushes against her protective embrace. The most complex parent may be Strong as Irving who must temper his affection for “his guys” with the need to be the “final word”. Strong convey a nerdy warmth as he sings a song (aided by banging a pan) to wake his lads, then becomes a terrifying “rage monster’ while dealing with Paul’s latest escapade. He truly scares the boy, but we can see in Strong’s eyes that he’s also unnerved by his out-of-control anger. Then in the final act, Irving insists on staying in the car with the boys during a memorial service, though not for their benefit as he suppresses a sob. But Repeta truly shines in his scenes with Hopkins as the ultimate grandpop’, full of patience and grumbly good humor, eager to be Paul’s sidekick in mischief. Though he seems an unlikely choice to play a Jewish family patriarch, Hopkins commands the screen as he regales his precious children with old songs or rivets them with his horror stories of survival and escape. Plus you just might feel your heart melt as Paul addresses him as “my good man”.Oh, and another big talent provides a most compelling cameo as a real figure from the era (with a big connection to the present).
All of this flows from the mind and memories of writer/director James Gray, who has fashioned an engaging “memory piece” that expertly invokes an era with almost no sentimentality. Yes, these years are full of wonder, but they’re also infused with anxiety. that mood is best seen as the adults discuss the presidential elections which may surprise younger filmgoers. Reagan may seem like an affable uncle in archival footage, and too soft now for his old political party, but for many at that time he was seen as the fellow who could bring about…the movie’s title. But the tale’s real tragedy may be the “arc” of Johnny, who will not get the second and third “chances” afforded to Paul. He’s the sacrifice to make the “system work”. The pace of the piece is problematic as it seems to lurch from one “dire incident” to the next with little coherence. Perhaps some more interaction between the parents would give a better understanding of the family. Or at least it would explain their inconsistent disciplinary strategies, especially when Paul really goes “over the line” and rebels at the first big family meal. Kudos to the production team for re-creating the hairstyles and fashions of the era (being a middle-class family, they wouldn’t be sporting the big “disco duds”). It’s worth seeing for the superb cast, but a wobbly script that just seems to abruptly stop drains the drama out of ARMAGEDDON TIME.
3 Out of 4
ARMAGEDDON TIME opens in select theatres on Friday, November 4. 2022
